An ex-prostitute reunites with her son, but an extortion scheme threatens her aspirations for a decent life.An ex-prostitute reunites with her son, but an extortion scheme threatens her aspirations for a decent life.An ex-prostitute reunites with her son, but an extortion scheme threatens her aspirations for a decent life.
- Awards
- 2 wins & 1 nomination
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAt the film's premiere in the Quattro Fontane Cinema (Rome, 22nd September 1962), Pier Paolo Pasolini was attacked by fascists who protested against the film.
- GoofsIn the opening titles, the music that is playing over the titles is noted as "Concerto in Do maggiore di Vivaldi," which translates in English as "Concerto in C major by Vivaldi." The music actually playing is the Largo (slow) movement from Vivaldi's Concerto in D minor (catalog number RV 540)
- Quotes
[English subtitled version]
Mamma Roma: He was sixty-five and I was fourteen. I got married in a young fascist girl's uniform!
- ConnectionsFeatured in Cinema forever - Capolavori salvati (2001)
- SoundtracksViolino tzigano
Music by Cesare A. Bixio (as Bixio)
Lyrics by Bixio Cherubini (as Cherubini)
Performed by Joselito
Featured review
"Why am I nobody, and you the King of Kings?"
As my first Pasolini film, Mamma Roma is as good an introduction as I could have wished. The plot is terrific and heartbreaking, and the depth and range that Mamma Roma's character calls for is delivered in full by Magnani. One must only consider the two separate occasions we see Mamma walk the line after dark. What a force! Her figure attracts so many men, almost like a light in an otherwise dark night would attract insects. But none of these men can keep up with her--the past she recounts, although lightheartedly, is too troublesome a road for anyone to walk down. Indeed, she herself never finds an escape from it.
And this is the genius of Pasolini's film. That we have the two figures of Ettore and Mamma Roma, who each emerge in the film at the hour of their seeming liberation-- Mamma freed from her pimp and Ettore from his "hicks" in the country--who nonetheless crumble under the weight of history. All they are left to do is wonder, to paraphrase Ettore during the end, "why so many people are torturing (them)," when all they (Mamma Roma and Ettore) want to do is good. Existential despair that resonates today amidst grave financial uncertainty and uncertain class ascendancy.
And this is the genius of Pasolini's film. That we have the two figures of Ettore and Mamma Roma, who each emerge in the film at the hour of their seeming liberation-- Mamma freed from her pimp and Ettore from his "hicks" in the country--who nonetheless crumble under the weight of history. All they are left to do is wonder, to paraphrase Ettore during the end, "why so many people are torturing (them)," when all they (Mamma Roma and Ettore) want to do is good. Existential despair that resonates today amidst grave financial uncertainty and uncertain class ascendancy.
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- Oct 18, 2011
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Details
Box office
- Gross worldwide
- $14,910
- Runtime1 hour 50 minutes
- Color
- Aspect ratio
- 1.85 : 1
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